Aragay, Mireia, (ed.) (2005) Books in Motion: Adaptation, Intertextuality, Authorship. Amsterdam / New York : Rodopi,. Indigeneity and the Decolonizing Gaze: Transnational Imaginaries, Media Aesthetics, and Social Thought (Bloomsbury, 2023)

Find sources: "Robert Stam"– news · newspapers · books · scholar · JSTOR ( September 2011) ( Learn how and when to remove this template message) We should avoid documentaries, for they do not allow for total control over what is shown and therefore might allow for the infiltration of undesirable elements: we need a studio cinema, like that of Hollywood, with well-decorated interiors inhabited by nice people. 7 Cohen, K. (1979) Film and Fiction: The Dynamics of Exchange. New Haven and London: Yale University Press. Alternative Museum of New York 1989. Prisoners of Image: Ethnic and Gender Stereotypes. New York: The Museum. Tropical Multiculturalism: A Comparative History of Race in Brazilian Cinema and Culture (Duke, 1997)In Problems of Dostoevsky’s Poetics Bakhtin speaks of the Menippea, a perennial artistic genre linked to a carnivalesque vision of the world and marked by oxymoronic characters, multiple styles, violation of the norms of etiquette, and the comic confrontation of philosophical points of view. Although not originally conceived as an instrument for cinematic analysis, the category of the Menippea has the capacity to deprovincialize film-critical discourse, which is too often tied to nineteenth-century conventions of verisimilitude. Filmmakers like Buñuel, Godard, Ruiz, and Rocha, in this perspective, are not the mere negation of the dominant tradition but rather heirs of this other tradition, renovators of a perennial mode characterized by protean vitality.

Naremore, J. (1990) ¿Authorship and the Cultural Politics of Film Criticism¿, Film Quarterly 44 (1), 14-22. Multiculturalism, Postcoloniality, and Transnational Media (Rutgers, 2000), coauthored with Ella Shohat The issue of realism also had to do with intercultural dialogue. In the case of European modernism, as Bakhtin and Medvedev (1985) suggest in The Formal Method in Literary Scholarship, non-European cultures became the catalysts for the supercession, within Europe, of a retrograde culture-bound verism. Africa, Asia, and the Americas provided a reservoir of alternative trans-realist forms and attitudes. In film theory, Sergei Eisenstein invoked extra-European traditions (Hindi rasa, Japanese kabuki) as part of his attempt to construct a film aesthetic which went beyond mere mimesis. A realist or, better, illusionist style was revealed by the modernist movement to be just one of many possible strategies, and one marked, furthermore, by a certain provinciality. Vast regions of the world, and long periods of artistic history, had shown little allegiance to or even interest in realism. Kapila Malik Vatsayan speaks of a very different aesthetic that held sway in much of the world:Projecting Illusion: Film Spectatorship and the Impression of Reality. New York: Cambridge University Press. Braudy, Leo, and Marshall Cohen, eds. Film Theory and Criticism. 7th ed. New York: Oxford University Press, 2009.

Robert Stam (born October 29, 1941) is an American film theorist working on film semiotics. He is a professor at New York University, where he teaches about the French New Wave filmmakers. [1] Stam has published widely on French literature, comparative literature, and on film topics such as film history and film theory. Together with Ella Shohat, he co-authored Unthinking Eurocentrism: Multiculturalism and the Media.One might even expand the discussion to examine the proto-theoretical implications of the etymologies of the words for pre-cinematic devices: camera obscura (dark room) evokes the processes of photography, Marx’s comparison of ideology to a camera obscura, and the name of a feminist film journal. Magic lantern evokes the perennial theme of movie magic along with Romanticism’s creative lamp and the Enlightenment’s lantern. Phantasmagoria and phasmotrope (spectacle-turn) evoke fantasy and the marvelous, while cosmorama evokes the global world-making ambitions of the cinema. Marey’s fusil cinématographique (cinematic rifle) evokes the shooting process of film while calling attention to the aggressive potential of the camera as a weapon, a metaphor resurrected in the guerrilla cinema of the revolutionary filmmakers of the 1960s. Mutoscope suggests a viewer of change, while phenakistiscope evokes cheating views, a foreshadowing of Baudrillard’s simulacrum. Many of the names for the cinema include some variant on graph (Greek writing or transcription) and thus anticipate later tropes of filmic authorship and écriture. The German lichtspiel (play of light) is one of the few names to reference light. Not surprisingly, given the silent beginnings of the medium, the appelations given the cinema rarely reference sound, although Edison saw the cinema as an extension of the phonograph and gave his pre-cinematic devices such names as optical phonograph and kinetophonograph (the writing of movement and sound). The initial attempts to synchronize sound and image generated such coinages as cameraphone and cinephone. In Arabic the cinema was called sum mutaharika (moving image or form), while in Hebrew the word for cinema evolved from reinoa (watching movement) to kolnoa (sound movement). Otherwise, the names themselves imply that film is essentially visual, a view often buttressed by the historical argument that cinema existed first as image and then as sound; in fact, of course, cinema was usually accompanied both by language (intertitles, visible mouthings of speech) and by music (pianos, orchestras). Welsh, James M., and Peter Lev, eds (2007) The Literature/Film Reader: Issues of Adaptation. Lanham, Maryland : The Scarecrow Press.